Blackmagic Design today announced that Blackmagic URSA Mini Pro and DaVinci Resolve Studio were used for popular singer Kana Nishinos new music video for her song 'Girls'. Nobu Sueyoshi both directed and shot the video, and Toru Miura, a colorist and DIT from Spice Inc., provided color correction.

Sony today announced the launch of a range of high performance CFast memory cards designed to meet the needs of professional photographers and videographers. The new G Series CFast responds to the ever increasing capabilities of high-end DSLR and 4K cinema-grade broadcast cameras, offering lightning-fast write speeds of up to 510MB/s and read speeds of up to 530MB/s.[i]

Cinegy, which develops and produces software technology for digital video processing, asset management, video compression and automation and playout today announced that K-Baduk in South Korea has launch its Go channel using Cinegy.

Bexel, an NEP Broadcast Services Company, has greatly expanded its 4K and HDR capabilities with the purchase of five Sony PXW-Z450 camcorders, the first 4K shoulder-style cameras to join the Bexel rental inventory. Over the next year, Bexel will increase its investment to 20 of the Sony camcorders, which will see their first use for coverage of the upcoming events in PyeongChang, South Korea.

Blackmagic Design today announced that its Teranex AV broadcast quality standards converter was used for signal conversions on American pop rock band Trains Play That Song summer tour. Several additional Blackmagic Design products were also used on the tour, including a Videohub CleanSwitch 12x12 router with Videohub Smart Control, HyperDeck Studio Pro broadcast deck, SmartView Duo monitor and UltraStudio 4K capture and playback device.

Rotolight, award-winning British LED lighting manufacturer, has announced the launch of Anova PRO 2; a pioneering continuous light and High Speed Sync (HSS) flash for creative image-makers. Redefining the standard for professional LED lighting in studio or location, Anova PRO 2 is one of the brightest LED lights ever launched in its class, delivering 10,700 lux at 3 feet. Packed with innovative features for television, film production, and photography, the Anova PRO 2 is the 4th generation of Rotolights award winning studio/location light.

After a successful launch of the next generation CineAlta motion picture camera VENICE, and extensive conversations with filmmakers following the cameras debut, Sony is responding to strong requests to implement Full Frame image capture from day one, in time for the shipping of VENICE in February 2018.

Timecode Systems, a pioneer in wireless technologies for sharing timecode and metadata, today announced the release of the SyncBac PRO for GoPro® HERO6 Black cameras, a customised timecode-sync solution for the newest generation of GoPro action cameras.

A specialist in multi-camera concert films and music documentaries, Toward Infinity began working with Trickbox TV around 18 months ago. Run by Producer, Director and Editor Tim Sidwell and Producer and DP Jeremy Mason, Toward Infinity is a creative collaboration that works with top flight venues including: Royal Albert Hall, Wembley Arena, the O2 Arena, Shepherd's Bush Empire and the London Forum, with artists in all genres.

LEDs are a highly efficient light source, and putting aside any color spectrum issues, (that have generally been improving) they still have limitations for lighting people. The naked illumination coming off a single emitter, or an array making up a larger fixture, such as a panel, is just not the soft, beautiful glow that we seek for human subjects.

One of the greatest challenges I face when designing a Special Camera system is how to minimise such vibrations, be they the very passive such as vibrations from a human wearing a camera system (10 20Hz), or more pronounced (try strapping a camera to a race car!).

Im often asked, what do you do when the students arent around?, and the simple answer is, as it would be from any university technical support member of staff, I get involved in passion projects and these help me to stay up-to-date with the kit and keep my hand-in with video filmmaking.

For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.

For several years I have felt that I should attend the Amazon Web Services (AWS) Summit in London, but never quite found the time to do it. After an exhilarating and educational day, I will now regret that I didn’t go sooner.

In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?

Communications today is a critical issueno matter if you are producing broadcast television, doing a live festival or rock concert outdoors, setting up a musical on the West End, or producing a local school play. Over the last few years, the proliferation of cell phones and other wireless devices has made it clear that most people prefer to communicate untethered.

This is, of course, the IBC issue of this splendid magazine. Much of the rest of its pages are filled with what you will see there, or (in some cases) what vendors and their marketing communications agencies want you to see there.

At IBC we always look forward to meeting old faces and new. For those more recently acquainted with the broadcast industry, you may not realise IBC was born half a century ago in London. In 1967 the show, held at the Royal Lancaster Hotel, attracted just 32 exhibitors and 500 delegates. However, its popularity grew and the exhibition quickly upgraded with a move to the Grosvenor House Hotel in London, followed by the Wembley Conference Centre, before moving to Brighton.

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